Abstract
Over the past two decades, film scholars have become increasingly aware that the “national-cinema” paradigm does not adequately address issues of film production, distribution, or consumption in an increasingly interconnected world.1 According to Chris Berry and Mary Farquhar, “few places have a more complex relation to the national than the combination constituted by the People’s Republic [of China (PRC)], Hong Kong, Taiwan, and the Chinese diaspora.”2 As a result, scholarship on Chinese cinemas recognizes “the plurality of the concept of Chinese ‘national’ cinemas” and mobilizes the transnational to describe “filmmaking activities located in several geographical regions [… that] somehow share certain linguistic and cultural traits of ‘Chineseness.’”3 Importantly, the description of these cinemas as “transnational” does not necessarily displace the notion of the national, but rather repositions it in a broader ethnic framework.4
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Filmography
14 Blades. Dir. Daniel Lee. Shanghai Film Group et al., 2010.
Assassin Couple. Dir. N/A. New Asia Entertainment Group, 2013.
Ballistic Kiss. Dir. Donnie Yen. Bullet Films, 1998.
Blade II. Dir. Guillermo del Toro. New Line Cinema et al., 2002.
Bodyguards and Assassins. Dir. Teddy Chan. China Film Group et al., 2009.
Dragon Tiger Gate. Dir. Wilson Yip. Mandarin Films Distributing Co. et al., 2007.
Empress and the Warriors, An. Dir. Siu-Tung Ching. Beijing Poly-bona Film Publishing Company et al., 2008.
Expendables 2, The. Dir. Simon West. Nu Image, 2012.
Fist of Fury. Dir. Wei Lo. Golden Harvest Company, 1973.
Fist of Legend. Dir. Gordon Chan. Eastern Productions, 1994.
Flashpoint. Dir. Wilson Yip. Mandarin Films Distributing Co., 2007.
Forbidden Kingdom, The. Dir. Rob Minkoff. China Film Co-Production Corporation, 2008.
Hero. Dir. Yimou Zhang. Beijing New Picture Film Co. et al., 2002.
Highlander: Endgame. Dir. Douglas Aarniokoski. Davis-Panzer Productions et al., 2000.
Iceman Cometh 3D. Dir. Donnie Yen, Raymond Yip, and Christopher Sun. N/A, 2013.
In the Line of Duty 4. Dir. Woo Ping Yuen. D&B Films Co. Ltd., 1989.
Ip Man. Dir. Wilson Yip. Beijing ShengShi HuaRei Film Investment & Management Co., 2008.
Ip Man 2. Dir. Wilson Yip. Henan Film & TV Production Group Henan Film Studio, 2010.
Iron Man 2. Dir. Jon Favreau. Paramount Pictures et al., 2010.
Iron Monkey. Dir. Woo Ping Yuen. Film Workshop et al., 1993.
Kill Zone. Dir. Wilson Yip. Abba Movies Co. Ltd., 2005.
Legend of the Fist: The Return of Chen Zhen. Dir. Wai-keung Lau. Media Asia Films et al., 2010.
Legend of the Wolf. Dir. Donnie Yen. 1997.
Lost Bladesman., The. Dir. Felix Chong and Alan Mak. Anhui Media Industry Group, 2011.
Monkey King, The. Dir. Pou-Soi Cheang. Beijing Wen Hua Dong Run Investment Co. et al., 2013.
Mummy: Tomb of the Dragon Emperor, The. Dir. Rob Cohen. Universal Pictures, 2008.
Once Upon a Time in China II. Dir. Tsui Hark. Golden Harvest Company et al., 1992.
Painted Skin. Dir. Gordon Chan. Ningxia Film Studio et al., 2008.
Shanghai Affairs. Dir. Donnie Yen. China Star Entertainment, 1998.
Shanghai Knights. Dir. David Dobkin. Touchstone Pictures et al., 2003.
Special Identity. Dir. Clarence Fok. N/A, 2013.
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© 2013 Russell Meeuf and Raphael Raphael
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Funnell, L. (2013). Hong Kong’s It/Ip Man: The Chinese Contexts of Donnie Yen’s Transnational Stardom. In: Meeuf, R., Raphael, R. (eds) Transnational Stardom. Global Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137268280_7
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DOI: https://doi.org/10.1057/9781137268280_7
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